A beautiful study of the lives and art of two of the greatest botanical illustrators of all time The art of Franz and Ferdinand Bauer was praised by the poet and botanist Johann Goethe as the perfect expression of the aims of botanical illustration. This book examines the contrasting lives of Franz (1758-1840), who for 50 years was the resident artist at London's Kew Gardens and Ferdinand (1760-1826) who led a life of travel and adventure as a natural history artist including participating in the voyage to Australia of HMS Investigator (1801-1805). It is illustrated with images from the superb archive of Bauer drawings at the Natural History Museum Library, many of which have never been published. These include beautiful and finely detailed watercolors of flowering plants collected from across the world, pioneering microscopical drawings of plant anatomy, and pictures of the newly discovered animals from the coasts of Australia.

Filled with stunning 18th- and 19th-century illustrations of plants and other living creatures, this book is the first to bring together the life and art of the three Bauer Brothers, who came to be some of the most celebrated botanical artists of all time. As artists, Joseph, Franz and Ferdinand Bauer were independently successful: Joseph as court painter to the Prince of Lichtenstein; Franz (later Francis) was employed at Kew Gardens as the "Botanick Painter to His Majesty"; and Ferdinand's seminal collection of 1500 paintings created from sketches he made traveling in and around Australia is the first detailed account of the natural history of that continent. Drawn from all known worldwide sources of the Bauers' extant illustrations, this illustrated history of the Bauers and their work unfolds chronologically, starting with the brothers' formative years in Feldsberg, Austria, where they produced more than two thousand drawings of plant specimens under the guidance of the local abbot. Learning how to dissect plants as well as how to use microscopes to paint them in intricate detail, the Bauers became well known for their extraordinary precision. Their detailed work, along with their incredibly beautiful and highly developed methods of coloring their paintings, comes to life in numerous superbly reproduced illustrations. A celebration of an indelible body of work, this unique volume recalls the Golden Age of botanical artistry through the lives and contributions of the renowned Bauer brothers.

AUGIE BORETSKI KNOWS how to get by. If you're a scrawny loser in the destitute city of Camden, New Jersey, you keep your head down, avoid the drug dealers and thugs, and try your best to be invisible. Augie used to be good at that, but suddenly his life is changing. . . . First, Augie accidentally steals a strange book of fairy tales. Then his mom makes him join the Big Brothers program and the chorus. And two bullies try to beat him up every day because of it. Just when it seems like things can't get any worse, an ice storm wrecks Augie's school. The city plans to close the school, abandoning one more building to the drug addicts. But Augie has a plan. For the first time in his life, Augie Boretski is not going down without a fight.

DEEP IN THE Minnesota forest, where only the strong survive, four regular-sized pups—Leader, Sniffer, Runner, and Thinker—are pushed into the world. Then one last, very small pup is born into the wolf pack. He is called Runt. From the very start, Runt struggles in the harsh wild world of the wolves. He tries learning along with his brothers and sisters, but makes serious mistakes. It’s hard pleasing his father, King, and the other wolves. If only Runt could prove himself to his powerful father and family. . . . “With an economy of words, Bauer precisely and vividly conveys the wolves’ wild world. . . . There’s a ready-made audience for this.”—Booklist, Starred “Beautifully written and faithful to wolves’ behavior (explained in an afterword). . . . Bauer portrays the wolves’ place in the natural world with compassion, respect, and warmth, but this is also the story of any unique individual’s struggle to find his or her niche.”—School Library Journal

"Reveals the history of botanical painting, its beauty and science, with works from two renowned collections and over one hundred significant artists, dating from the late 1400s through to today. Paintings featured from the Kew collection include works by well-known artists the Bauer brothers, Redoute, Ehret, Fitch, Lilian Snelling and Margaret Mee as well as many lesser known artists. Contemporary works are featured from the Sherwood collection by a host of international artists. Over 200 stunning botanical paintings are showcased in this gift book, accompanied with informative text on the origins, history and relevance of botanical art, as well as information on the plants themselves. Biographies of over 120 artists are provided at the end of the book, revealing the historical and international background of this genre."--

Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street—already a synonym for impoverished hack writers—before he became one of literary London’s most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers’ livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson’s “Club” and those far less fortunate “brothers of the quill” trapped in Grub Street. Clarke emphasizes Goldsmith’s sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish émigrés: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface. To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.